Archive for Murnau

Attendant Woes

Posted in FILM, MUSIC, Mythology, Politics with tags , , , , , , , , , , on March 19, 2014 by dcairns

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Cinema will learn to talk soon, I promise, but for now I’m still mulling over films seen at the Hippodrome Festival of Silent Cinema.

THE LAST LAUGH is one I’d seen a few times but probably not, in its entirety, as often as I should’ve. It’s the kind of film which wouldn’t necessarily compel me to make the trip (which is rather difficult, the bus service being singularly erratic) by itself, but in combination with a bunch of other films I fancied, it made for a delightful extra, if delightful is really the word for F.W. Murnau’s desperate vision.

One smart person with a beard suggested that the film, in which hotel doorman Emil Jannings is robbed of his uniform and its concomitant status when he gets too old to lug suitcases without breaking his wind, could be read as a metaphor for Germany’s post-war enforced demilitarisation*, but I’m afraid my mind was on other things, such as Jannings’ putty forehead, which looks quite real on home video (though the shading in his cheekbones is recognizably kohl, not natural hollows) and becomes a big part of his performance.

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Also, I located the movie in the supernatural tradition of German film (NOSFERATU was just two years before) — when Jannings turns up to work and finds another man wearing his uniform, we seem to be in the doppelganger genre first seen in THE STUDENT OF PRAGUE. Seeing one’s double is meant to be a portent of death, and in this case it’s the death of Jannings’ hopes, career, dignity. It’s perfect that he sees the younger version as they both pass through the Atlantic Hotel’s revolving door, so that the new guy seems like a reflection of the old.

When Jannings’ family face him knowing that he’s now a lowly toilet attendant, they react not with pity but horror, and I was reminded of Kafka’s Metamorphosis, in which Samsa’s transfiguration provokes only the faintest hint of sympathy from his loved ones, who are more concerned with the practical problems entailed. Jannings doesn’t actually get an apple stuck in his back, but it’s a close thing. (Given his love of wallowing in humiliating scenarios, I’m posi-sure that if Murnau had produced a golden delicious and proposed ramming it under his shoulder-blade, Jannings would’ve shrugged off his undershirt and gotten down on bended knee in a twinkling.)

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The film seems, on the face of it, bracingly anti-capitalist, with Russian-style dialectical montage contrasting the rich patrons slurping down oysters while poor old Emil eats his toilet soup in the men’s room. It’s not even HOT toilet soup, as Murnau mercilessly photographs the steam escaping as Jannings is forced to attend to an untimely urinator who arrives during his break.

This is undercut in some ways by the conclusion, a bit of proto-Bokononism in which the film debunks its own happy ending. Jannings inherits a fortune from an eccentric American who expires, offscreen, in his arms, in the loo (the Atlantic takes away but it also gives). With his new-found wealth, Jannings becomes a guest himself, gorging himself suicidally and treating his friend, the sympathetic night watchman (whose kindness has hitherto only made the world seem bleaker) to an equally painful looking repast. Ignoring his disappointing family, Jannings heads off into the city with the watchman. This could be the start of a beautiful friendship, but it doesn’t feel like an indictment of social inequality, exactly. On the other hand, we’ve been told in no uncertain terms that this ending is not the kind we get in real life (the Atlantic gives but it also takes away).

The BFI’s rather wash-out print was compensated for magnificently by a new arrangement of the original score, performed by Sabrina Zimmerman on violin and doorman’s whistle and Mark Pogolski on piano, who created between them a very rich soundscape, one of those accompaniments that really helps you climb inside the film and smell its pungent air.

*The film’s opening title card (absent from the BFI print) gives some support to this theory. “Today you are the first, respected by everyone, a minister, a general, maybe even a prince — Do you know what you’ll be tomorrow?”

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Scotch Reels

Posted in FILM with tags , , , , , , , , , , , , , , , , on March 16, 2014 by dcairns

My second trip to Bo’ness for this year’s Hippodrome Festival of Silent Cinema allowed me to spend the whole day there, seeing shows from 10.30am until 7.30 pm — Keaton, Bowers, Chase, Von Bolvary, Murnau, Ozu. In the company of delightful people such as Pamela Hutchinson of Silent London, ace accompanist Neil Brand, writer and Edinburgh Film Fest director Chris Fujiwara. With a weird tartan theme going on.

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I’m no expert on tartan. I think my own family pattern is the Clan MacCavebear. What was peculiar was that from the Charley Bowers film on, every movie had a strong tartan presence. THERE IT IS (1928) features cinema surrealist Bowers as Charley MacNeesha of Scotland Yard (visualised as a pen full of kilted men, milling about aimlessly), who investigates crimes too baffling and stupid for the ordinary police, assisted by his kilted flee, MacGregor. Pamela pointed out that Bowers kilt, an obscenely short plaid pelmet, grows mysteriously longer in the final scene where he’s wed Keaton co-star Kathryn McGuire. What is the hidden significance of this?

In LIMOUSINE LOVE (1928), Charley Chase, on his way to his wedding, gets saddled with a naked lady (quite a good role for Viola Richard, since she has to be filmed in close-up throughout). The tartan this time is worn by Josephine the monkey (who also co-starred with Harold Lloyd in THE KID BROTHER and Buster Keaton in THE CAMERAMAN). She crops up quite gratuitously here, wearing an adorable little monkey kilt. Inexplicable.

German cabaret star Ilse Bois in DER GEISTERZUG/THE GHOST TRAIN/LE TRAIN FANTOME (1927, an Anglo-German co-production screened via a French print) plays a temperance campaigner all in plaid, which is stretching a point but her name is Miss Bourne — and in the Hungarian version of 1933 it’s “Miss Burns,” which does sound Scottish. Given her surliness, I suspect she’s meant to have Celtic qualities.

When I spotted two tartan blankets draped over extras in THE LAST LAUGH, I felt confident in predicting that Ozu’s DRAGNET GIRL (1933) would feature some example of the Scottish national pattern. I knew that tartans are not unknown in the east due to Tatsuya Nakadai’s tartan muffler in YOJIMBO. Thanks to an interview he gave to Alex Cox, I even know the Japanese for “tartan muffler,” which I believe is “tarutana muffura.”

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Handsome Joji Oka’s is a particularly fine example.

When I got home, I had to re-check Buster Keaton’s THE BLACKSMITH, as I hadn’t been watching out for tartans in that one. There’s a fair bit of plaid on display. And also an acrobatic lady who MAY be a young Charlotte Greenwood. I’m no forensic identification expert, but how many comediennes could do the splits back then? Perhaps somebody else with a DVD and a keen eye could look into this for me?

The Groundhog Day Intertitle: No Man Can Resist Evil

Posted in FILM with tags , on February 3, 2014 by dcairns

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WAAAAAUGH!

The Four Horsemen of the Apocalypse: War, Pestilence, Death and Taxes.

See, I was so busy filling out my tax return… you know how you’re having a great time and you forget what time it is? Well, that didn’t happen, but by the time I was finished (with interruptions caused by the Royal Bank of Scotland going offline when I was halfway thru) I realized that I had MISSED a special screening of Murnau’s FAUST (pictured) with live music.

So, as I was saying: WAAAAAUUUUUGHHH!

This post is expanded from a Facebook update based on a true story inspired by a film based on a German legend (Trad).

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“No man can resist evil. The bet is on!”

No energy for anything more today. Or time! If I try to add up the number of things I have to do this week, by the time I’m finished adding I won’t have time to do them. But tune in tomorrow for “Things I Read Off the Screen in CITY OF THE LIVING DEAD.”

And yes, RIP Max Schell, PS Hoffman, Eduardo Coutinho.